Yes, Andrew, I can enthusiastically recommend milk paint for many
applications. I'm reworking a large Zuckermann Flemish single and
indulging in doing a complete Flemish decorating scheme - faux marbling,
papers, etc. The exterior is green porphyry marbling, for which I used
milk paint. The base color is a lighter green with a darker, almost
black green for the marbling. For the white veining I used acrylic
paint, however.
I must say, for an unexperienced somewhat clumsy painter like myself,
this milk paint is a godsend. The powder is mixed with water to a
creamy consistency, and various shades of color can be created by mixing
the many different colors that are offered. The paint is easily applied
and spread - I found a cheap foam brush actually works better than a
bristle brush. After about a hour the paint is dry and ready to prepare
for subsequent coats. Between coats I gave a very light sanding with
200 grit paper. A chalky dust forms, easily wiped off with a cloth.
Non-clogging to the sandpaper.
Takes about three coats, maybe more to completely cover uniformly, but
the final result is a smooth, flat, flawless surface. For the Flemish
marbling, I gave the final base color a sanding with 400 grit, wiped all
dust off, and let it dry for a few days to make sure it was completely
cured, although I suspect it might have been OK to proceed sooner. Then
I applied a much darker green (same green milk paint powder as for the
base, to which I added some black milk paint powder from the same
supplier.) Working quickly, I removed some of the darker paint as it
dried to give the random marbling pattern. This top layer began to dry
faster than I could manage and I feared I was in trouble. But I still
found that after drying I could use 400 sandpaper to feather out the
margins of the darker regions, and even sand through to the base coat if
I wanted to eliminate some of the darker spots. The end result turned
out much better than I had expected. The white acrylic veining was not
as forgiving as milk paint, and my lack of artistic skill was more
apparent, I fear. The veining is not as realistic as the green/black
marbling, but the overall effect is pretty good.
I plan to varnish the case, although visually the finish is fine the way
it is. I did a final light sanding with 400 and the effect is almost as
smooth as semi-gloss even with no varnish. But a varnish is needed for
protection. Water spilled on the dried paint will re-dissolve, I have
discovered.
I also used milk paint for the grey banding on the top and bottom edges
of the case, and also for the black and white lines to give the faux 3-D
effect to the bands. I mixed white and black milk paint powders until I
was satisfied with the shade of grey. It was nice to have control of
the shading. For instance, I did not have to use pure black or white
for the 3-D lines, but could darken or lighten the grey band color. I
didn't trust my brush handling skills, so I used masking tape to define
the bands and lines. The milk paint co-operated wonderfully. No
leaking and the tape came off cleanly. I also used milk paint for the
black border on the inside of the lid surrounding the papers. Masking
tape to the rescue here too.
Mix up any quantity, keep in the refrigerator between applications (a
week or two), clean up with water, mix up custom shades, and
inexpensive! What's not to like?
The Old Fashioned Milk Paint Company Groton, MA www.milkpaint.com
Norm Purdy
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